Stereo Condensor Microphones. What are your favorites?

[Joe Taylor]

Looking to purchase a stereo condenser microphone for recording sound F/X in the field. The most attractive one thus far is the Rode N4. Anybody with the experience, can you chime in on your favorites?

 

[David W. Jones]

IMHO microphones are like camera lenses.. One size does not fit all. Just like you would select different focal lengths depending on the shot, likewise an experienced sound mixer will select the right tool for the job. That being said, I'm a little old fashion. So my go to for stereo depending, is an MKH-30 along with either an MHK-40, MKH-50, MKH-60. I also use dynamics like Sennheiser MD-421's, and Lavs like DPA 4061's. It just depends on the sound you are trying to capture along with the location. Many tines I do not record in stereo. It just depends. I don't know how helpful this is, as I have zero experience with the Rode N4.

 

[Marc Wielage]

In addition to David's excellent advice above, I would point out that just about every situation that exists in the world is most likely available as stock SFX from different sound effects suppliers. The libraries are out there. Of course, there might be a case where you need to record a 1915 German cannon, or you need the specific sound of a 1955 Puegot automobile, but aside from that, almost everything else will exist as stock effects. You can often buy much higher-quality sound effects than anything you could record yourself, unless you had vast time & money.

 

[Hugh Scully]

Did you get a chance to try out that Rode NT-4? I'm also looking at the Audio-Technica BP4025. I'm looking for a stereo setup for ambient sound, exteriors like morning bird stuff, evening crickets, road stuff, interior restaurant... you know. I had been using a Tascam DR 40 for that kind of thing with pretty good results but I'd like to upgrade. Having a real stereo recording provides a lot more depth.

 

[Hal Long]

I would prefer to put 2 better quality condensers in an X/Y pattern. The NT5s are good, but there are so many solid condensers out there and they'll have much more long-term viability than a cheaper stereo mic.

 

[Marc Wielage]

All the Rode mics have a fairly high noise floor. I would put the Sennheiser MKH30/50 M/S combination far higher. Note there are some sound effects people and re-recording mixers who do not like M/S stereo for various reasons, and they actually prefer two spaced cardiods or even omnis. A lot of SFX companies sell stock effects recorded with very, very high end gear in 5.1 surround these day. If they're using all Schoeps microphones and a 6-channel recorder, it could literally be $15,000+ worth of gear.

A $228 Rode stereo mic is not going to compare favorably to this.

 

[Hugh Scully]

All the Rode mics have a fairly high noise floor. I would put the Sennheiser MKH30/50 M/S combination far higher. Note there are some sound effects people and re-recording mixers who do not like M/S stereo for various reasons, and they actually prefer two spaced cardiods or even omnis. A lot of SFX companies sell stock effects recorded with very, very high end gear in 5.1 surround these day. If they're using all Schoeps microphones and a 6-channel recorder, it could literally be $15,000+ worth of gear.

A $228 Rode stereo mic is not going to compare favorably to this.

I reckon not. An omni seems like a good idea.

 

[Elsie N]

On the other hand, for the budget minded... this mic got mostly favorable reviews on Amazon. I ordered a couple to plug into a TASCAM recorder and will clamp them on light stands just to get me some room noise.

 

[Hugh Scully]

Note there are some sound effects people and re-recording mixers who do not like M/S stereo for various reasons, and they actually prefer two spaced cardiods or even omnis.

Marc, they prefer two mono cardiod tracks to a matched stereo set in stereo? More flexible to mix?

 

[Marc Wielage]

Marc, they prefer two mono cardioid tracks to a matched stereo set in stereo? More flexible to mix?

There are apparently issues with decoding M/S signals and phase cancellations that affect surround. This has been discussed several times in the Post-Production / Re-Recording Mixer section of the Gearslutz Forum:

https://www.gearslutz.com/board/post-production-forum/

Wide cardioids, XY, spaced omnis... there's pros and cons of each approach. My point is that if somebody is concerned about a "budget" approach, then I'd suggest not trying to buy any gear at all to record stereo effects but instead just buy the sound effects already recorded by experts. They literally cost a few bucks apiece -- they're not expensive if you're not buying an entire massive library at one time.

 

[PatrickFaith]

I use schoeps ccm 41 in ortf a lot, I find the image for the ambient background is fairly easy to use in a hectic day. The schoeps ccm41 rig is hard mounted and a bit tighter then standard ortf, but I find it more usable in avoiding background noise I don't like. Also since its a stiff rig I find I don't mess things up like with my older ortf km184 rail system. I almost always prefer my cmit 5u over any x/y config, I don't think any of my x/y ambience recordings were ever found useful in the mix.

 

[Mark Johnson II]

Audio Technica's AT8024 Stereo/Mono Camera-Mount Microphone:

https://www.bhphotovideo.com/c/prod...8024_stereo_mono_camera_mount_microphone.html

Solid shotgun mic. Better audio than a Rode VMP; can select between mono and stereo.

 

[Dan Graetz]

I've been researching this for a while and I'm leaning towards the Pearl MSH10:
http://www.pearlmicrophones.com/products/microphones-by-type/shotgun/msh10-detail

I'm no audiophile but I've run it past some guys I trust and I'm really looking forward to hearing the results. It's setup for M/S in one housing with a shotgun and figure-8 in the same chassis. Keeps the 2 channels discreet so you can choose whether or not to make use of the ambient S in post later. I'm planning to run it through my trusty old Sound Devices MixPre (until I can justify upgrading to the MixPre-D) and connect it to the Weapon's base I/O audio port from the MixPre's tape out (to keep the cable spaghetti to a minimum). Also got my eye on Offhollywood's Command RT+ for it's audio features, but I shoot a lot of handheld documentary style material and I like the idea of mounting the MixPre underneath the camera LCD on the shoulder rig so I can monitor/mix while shooting.